By Culturekiosque Staff
BARCELONA, 29 MARCH 2013 And what if film
now considered the seventh art had its own muse, like music or dance? A
new exhibition at the Fundació Joan Miró in Barcelona seeks to name and
thus invoke the tenth elusive divinity.
Curated by Neus Miró, the show brings together several international
artists who have explored film in the period from the sixties to the
The selected artists take an experimental approach to working with the
properties of film, unfettered by the demands of the film industry.
Accordning to the curator, the works in the exhibition modify the
conventions of cinema from three different perspectives: by analysing the
convergence of photography and cinema, modifying traditional forms of
projection and creating new kinds of viewing spaces, and renewing the
models of film narrative.
Entitled Insomnia, the show (through 16 June)
consists of a selection of works that have been conceived to be projected
in museums and galleries, invading the exhibition space or inviting
visitor participation. Mr. Miró believes these art spaces have
allowed artists greater freedom than the strict confines of the film
industry and its distribution channels.
Fundació Joan Miró, Barcelona
The exhibition includes works by Hollis Frampton, Stan VanDerBeek, Dan
Graham, Lis Rhodes, Peter Kubelka, Ben Rivers and Stan Douglas.
The title of the exhibition comes from the sentence that Hollis
Frampton used to conclude his 1971 text analysing the relationship between
cinema and still photography, and its distinctive features: "Film has
finally attracted its own Muse. Her name is Insomnia." Frampton argued
that film became obsolete with the introduction of video, and then it
re-appeared as an art form; this is why it needs a muse.
perspective led Frampton and the other artists included in this show to
explore film language in a range of different ways: they worked on the
relationship between moving images and still photography, they sought new
forms of projection and created new spaces for cinema, or else they
explored new film narratives that moved away from the usual storylines of
fiction or documentary cinema.
Still Images and Moving
The exhibition starts out with Hollis Frampton and
focuses on the relationship between photography and film, between still
and moving images. In the two photographic works by Frampton, the artist
attempts to capture movement in still images, in a reversal of the shift
from photography to film. In (nostalgia), however, he creates a
disjunction between the image and the voice-over in order to suggest a
clash between the past, the present and the future.
Experimentation with Projection and New Viewing
The second part of the exhibition starts by bringing
together two artists who have explored the possibilities of projection in
ways that create new relationships between the images and the spectator.
Light Music, by Lis Rhodes, is an installation that consists of
projections of geometric patterns on two screens facing each other. The
space between the two projectors and the screens becomes a performative
space where viewers interact with the images.
This is followed by
two works by Peter Kubelka, an experimental filmmaker who also explores
new ways of presenting film, and who reduces his work to the basic
components of cinema: light, darkness, sound and silence. His film
Arnulf Rainer is screened in a totally black room.
part of the show continues with projects by two artists who have explored
the relationship between viewers and moving images by designing new spaces
in which to experience film. The works by Stan VanDerBeek and Dan Graham
transform the exhibition space into a sensory space.
Dan Graham: Cinema, 1981-1982
Centre Pompidou,MNAM-CCI,Di.RMN-Grand palais
As well as three films by VanDerBeek, the exhibition includes images
and information relating to his Movie-Drome, and large domed
screening space that he designed in 1963. There is also an architectural
model of Dan Grahams Cinema, where a projection screen is designed to be
integrated into a typical office building.
The third and final section of the exhibition,
entitled Infinite Cinema, looks at works that subvert
conventional cinematic narrative. On one hand, Ben Rivers presents Ah,
Liberty!, a film that is based on the observation of reality but
avoids the documentary genre. On the other, Stan Douglas explores the
possibilities of the construction of stories in the video-installation
Video, which disrupts the logic of canonical strategies of fiction
Through 16 June 2013
Fundació Joan Miró
Parc de Montjuïc s/n
(34) 934 439 470